Tomorrow People 21st Century 'Break Out'
by gopha productions
Summary: (Pilot Episode) The Tomorrow People must defend themselves physically and legally against a multi-national scientific consortium, or lose their home on Earth forever. (In Progress)
1. TP 21st Century 'Break Out' Teaser


    **THE TOMORROW PEOPLE 21ST CENTURY**
    "BREAK OUT"
    by
    Marla Kendal
    Based on "The Tomorrow People"
    by
    Roger Damon Price
    The Tomorrow People 21st Century is based on "The Tomorrow
    People" by Roger Damon Price. The "Tomorrow People"
    franchise is Copyright (c) 1991 Thames Television.
    Story & Teleplay Copyright (c) 2004 Marla Kendal.
    All rights reserved. No portion of this script may be
    performed, published, sold or distributed by any means, or
    quoted or published in any medium, including on any web site,
    without prior written consent. Disposal of this script copy
    does not alter any of the restrictions set forth above.
    Contact: screenplay (at) gopha (dot) net
    

* * *
    
    
    THE TOMORROW PEOPLE 21ST CENTURY
    "BREAK OUT"
    TEASER
    FADE IN:
    EXT. LONDON, ENGLAND - ESTABLISHING - DAY
    EXT. TUBE STATION - DAY
    PASSENGERS file in and out through the wide open doorway.
    INT. TUBE STATION - CONTINUOUS
    The passengers feed paper tickets into readers and proceed
    through the turnstiles.
    Brash and cocky AARON OGDEN (14), winds his way through a
    maze of corridors, and arrives in the tunnel. The benches
    are full, the walls lined with tired commuters. He wanders
    the platform, away from the crowd. Kicks the sour lemon
    candy machine.
    SUPERIMPOSE: YEAR 2003
    An ELDERLY MAN throws Aaron a disapproving look.
    Aaron shrugs.
    AARON
    They're everywhere. They take your
    money and you don't get nothing.
    ELDERLY MAN
    Youth today don't know how well
    they have it.
    Aaron rolls his eyes. He opens his mouth as if to speak, but
    no words come out. He grimaces. Groans. He digs the palms of
    his hands into his eyes.
    ELDERLY MAN
    Are you all right?
    AARON
    I've got a headache. I've--
    He doubles over in pain.
    ELDERLY MAN
    Are you ill? Do you need to go to
    hospital?
    AARON
    What? Stop it. Stop yelling at me.
    I didn't do anything.
    He jerks up, eyes wild and unfocused. He shakes it off.
    Glares at the Elderly Man. Rears up and pushes him.
    AARON (CONT'D)
    What was that? What'd you do to me?
    Aaron winces. Covers his ears. His body erupts into spasms.
    AARON (CONT'D)
    Leave me alone! Stop yelling at me!
    Leave me alone!
    He stumbles to the edge of the platform.
    Someone SCREAMS.
    Aaron loses his footing, falls off the platform and onto the
    rails. He hits his head, and loses consciousness.
    EXT. TUBE STATION - DAY
    Aaron flails about on the gurney. It rolls into the ambulance.
    The doors close and the ambulance speeds off, SIRENS blaring.
    INT. HOSPITAL EMERGENCY SERVICE
    The MEDICAL STAFF tend to Aaron. He moans and convulses.
    NURSE #1 wipes his forehead with a damp cloth.
    NURSE #1
    Another GHB overdose?
    The DOCTOR makes notes on a chart.
    DOCTOR
    I think so.
    AARON
    Stop it. Leave me alone!
    NURSE #2 pats Aaron's hand.
    NURSE #2
    We're just here to help you. Let us
    help you.
    AARON
    No! Leave me alone. Go away. Stop
    yelling at me! I don't want to go.
    I don't want to go.
    DOCTOR
    Vitals?
    NURSE #2
    Stable.
    DOCTOR
    Go ahead, sedate him. We won't find
    out anything with him in this state.
    INT. HOSPITAL ROOM
    The Doctor scribbles a note on the chart. Sighs.
    DOCTOR
    You didn't take anything, or you
    just don't remember?
    AARON
    I don't take drugs. I got sick.
    DOCTOR
    Our tests show you're perfectly
    healthy. The EEG showed no seizure-
    like brain activity, yet you were
    convulsing.
    AARON
    It's not my fault your machines
    gone wonky.
    The Doctor slaps the chart down onto the bed.
    DOCTOR
    Don't needle me. Go on, tell me the
    rest of your story.
    AARON
    (thinking as he goes along)
    I left school. Went to my mate's.
    And he was was with this girl. And
    they were, you know, having a bit
    of how's your father. So I left. I
    got to the cheap station, and had
    this headache. Then I woke up here.
    DOCTOR
    (unconvinced)
    You just rest up for a while. I've
    called your mum, she's on her way.
    AARON
    She's going to kill me. I missed my
    exams.
    EXT. BLOCK OF FLATS - NIGHT
    Modest homes set among a line of others, all alike.
    INT. ODGEN RESIDENCE - KITCHEN
    ITV2 blares in from the back room.
    Aaron, seated, chin in his hands, puts on the most pitiful
    and apologetic face he can muster.
    AARON
    Yes, mum. I'm sorry I caused you so
    much trouble.
    To Aaron, his mother's chiding voice sounds like an out of
    tune trumpet. SQUEAK SQUEAK SQUEAK.
    AARON (CONT'D)
    Yes, mum. I won't do it again. I
    promise.
    SQUEAK SQUEAK SQUEAK.
    AARON (CONT'D)
    I feel fine. Really. Can I go to my
    room now?
    He stands. Shoulders slumped, he trudges out of the room.
    INT. BEDROOM
    Aaron pulls back the covers and throws himself down into his
    bed. He pulls the covers over his head.
    From nowhere rise waves of VOICES. Men and women. Children.
    They cry out in mutters, wails, and ear piercing SCREAMS.
    The window curtains blow inward. Rain splatters onto the sill.
    MATCH CUT:
    INT. BEDROOM
    A bolt of lightning flashes through the curtains. The BOOM
    of thunder follows.
    The lump under the bed clothes moves. KATIE WATSON (13),
    petite and pig-tailed, scrambles out and onto the floor.
    Her eyes are wild. Fear distorts her face.
    KATIE
    (Geordie accent)
    Not again. No more. Please!
    (screaming)
    No!
    FADE OUT.
    END OF TEASER
    


	2. TP 21st Century 'Break Out' Act I


    **THE TOMORROW PEOPLE 21ST CENTURY**
    "BREAK OUT"
    by
    Marla Kendal
    Based on "The Tomorrow People"
    by
    Roger Damon Price
    The Tomorrow People 21st Century is based on "The Tomorrow
    People" by Roger Damon Price. The "Tomorrow People"
    franchise is Copyright (c) 1991 Thames Television.
    Story & Teleplay Copyright (c) 2004 Marla Kendal.
    All rights reserved. No portion of this script may be
    performed, published, sold or distributed by any means, or
    quoted or published in any medium, including on any web site,
    without prior written consent. Disposal of this script copy
    does not alter any of the restrictions set forth above.
    Contact: screenplay (at) gopha (dot) net
    

* * *
    
    
    THE TOMORROW PEOPLE 21ST CENTURY
    "BREAK OUT"
    ACT I
    FADE IN:
    EXT. LONDON, ENGLAND - ESTABLISHING - DAY
    EXT. CITY STREET - DAY
    SUPERIMPOSE: TWENTY-FOUR HOURS EARLIER
    A traffic light changes from red to green. A bus zooms by.
    A little box, with lots of buttons and lights, sits
    unattended on an iron dock rail. A pigeon lands beside it,
    head cocked. A metallic HISS emanates from the box. The
    pigeon startles and flies away.
    BILLY (O.S.)
    (American accent)
    That'll teach you, you dirty--
    Scruffy, unshaven BILLY ANDERSON (18), laughs and takes a
    bite of a greasy breakfast burrito. He picks up the little
    box and shakes it.
    BILLY (CONT'D)
    I hate the eight hour time
    difference.
    (yawning)
    I should still be asleep. They got
    me up and out for a wild goose chase.
    Billy smacks the box. It BEEPS once, then again.
    BILLY (CONT'D)
    Got'cha!
    He points the box towards the street, and follows the sound.
    He crosses and heads in the opposite direction. The box
    emits a long CLANG and falls quiet.
    Billy stomps his foot and grumbles. He leans against a store
    window, remembers his burrito, and stuffs the last of it in
    his mouth.
    BILLY (CONT'D)
    (mouth full)
    This is so uncool.
    EXT. SCHOOLYARD - DAY
    A group of STUDENTS run across a playing field.
    Katie sits in a corner, and flips through a teen magazine.
    She skips articles on fashion and makeup. She pauses on a
    page titled "ARE YOU PSYCHIC?" She turns the page. Flips it
    back.
    KATIE
    (reading aloud)
    Question one. Do you know things
    your mates are going to say before
    they say them?
    She thinks about that.
    EXT. PARK - FLASHBACK VIA KATIE'S THOUGHTS - DAY
    Katie, SARAH (13), and JENNIFER (13) sit on a brick wall.
    Their legs dangle over the edge.
    SARAH
    I've never been to Newcastle.
    KATIE
    I loved it there. It's home. Not
    that I hate it here. It's nice.
    JENNIFER
    London is the best.
    Jennifer scratches the end of her nose. She turns her head,
    and picks out a booger.
    Sarah sees and pretends not to notice.
    SARAH (VO)
    That's so gross!
    KATIE
    What is?
    SARAH
    What?
    KATIE
    You said something was gross.
    Sarah kicks Katie in the shin.
    SARAH
    Did not.
    JENNIFER
    No she didn't.
    KATIE
    I heard you.
    JENNIFER (VO)
    She's off again. Balmy girl.
    KATIE
    That's not nice.
    SARAH
    What?
    KATIE
    She called me balmy. You got cotton
    in your ears?
    SARAH
    No, but you've got fairies in yours.
    They're the ones whispering to you
    all the time.
    (mocking)
    Katie? Katie!
    Sarah and Jennifer giggle. Katie jumps off the wall.
    KATIE
    You said it, I heard you. Why are
    you so horrible to me?
    SARAH
    (mocking)
    Why are you so horrible to me?
    Katie bursts into tears and runs away.
    EXT. SCHOOLYARD - DAY
    Katie goes back to the article.
    KATIE
    (reading aloud)
    Question two. Do you sometimes know
    who is on the phone before you pick
    it up? Of course I do. We got
    caller display.
    She shakes her head and turns the page.
    INT. THE LAB
    A dense, dimly lit room. Clean and modern. One wall is lined
    with shelves that are strewn with books, magazines and
    binders. Electronic equipment in various stages of disrepair
    are piled everywhere.
    In one corner is a platform. Behind it, a water sculpture is
    in constant swirling movement.
    To the right is a steel door, and behind it, a spiral
    staircase.
    Front and center is a round table, surrounded by four
    uncomfortable looking chairs. Above the table, floating on
    thin air, with no visible wires or attachments, is a circular
    object with three protruding domes.
    Billy pops up from behind a pile of equipment.
    BILLY
    I'm not getting any more signals,
    Tim. Are you sure that's where you
    heard him last?
    The voice of biotronic computer, TIM, echoes out out the
    floating object.
    TIM (VO)
    (Refined, detached,
    w/slight reverb)
    My calculations are accurate.
    Tim's domes flicker on and off in a rainbow of color.
    BILLY
    Then the psionic vector trace is
    broken.
    TIM (VO)
    I calibrated it myself this morning.
    Billy shields his eyes, and rolls them.
    BILLY
    Something must've happened since
    then.
    TIM (VO)
    Are you having fun with me, Billy?
    Billy stifles a laugh.
    EXT. SCHOOLYARD - DAY
    Katie puts the magazine down. A gust of wind blows it open
    to the "ARE YOU PSYCHIC?" article. She picks the magazine
    up, crumples it, and tosses it into a trash bin.
    Spindly MR. BEECHER (40's) sneaks up behind her.
    MR. BEECHER
    That's no way to treat your property
    is it, Miss Watson?
    Katie whirls around.
    KATIE
    Sorry, sir. I didn't mean to--
    Sarah and Jennifer walk past and titter.
    JENNIFER
    She has no respect for anyone or
    anything. She's off her nut. Nutty
    Geordie.
    They laugh and run away.
    Mr. Beecher looks down his nose at Katie.
    MR. BEECHER
    Are you off your nut Katie?
    KATIE
    I don't think so.
    MR. BEECHER
    So you're not sure, then? Should I
    have a chat with your parents?
    Katie shakes her head.
    They hear a commotion in the distance. Mr. Beecher hurries
    away. Katie picks up a carry-all bag and follows.
    A group of SCHOOLBOYS have gathered. They hoot and holler at
    something shielded inside their small circle.
    Mr. Beecher breaks through to find Aaron and JOHNNY (16) in
    the middle of a vicious fistfight. He puts himself between
    them.
    MR. BEECHER
    What in the bloody hell is going on
    here?
    The Schoolboys laugh behind their hands.
    JOHNNY
    He's crazy!
    The Schoolboys laugh and taunt Aaron, who throws wild
    punches into the air.
    MR. BEECHER
    (to the boys)
    All right. Nothing to see. Off with
    you. Off with you!
    The Schoolboys retreat. Several bump into Katie on purpose
    as they pass.
    Mr. Beecher glares at Aaron.
    AARON
    I didn't do nothing! Why you
    looking at me?
    MR. BEECHER
    Because you're always at the center
    of it, Mister Ogden.
    AARON
    But that's not fair. He started it!
    JOHNNY
    I didn't. He was walking around
    talking to himself. I told you,
    he's crazy.
    Johnny illustrates by twirling a finger at his temple.
    MR. BEECHER
    And that will be enough out of you.
    You have class right now?
    (off Johnny's look)
    Then you'd better get to it, then
    hadn't you?
    Johnny makes a rude gesture at Aaron, and dashes off. He
    approaches Katie. He grabs her purse, and rifles through it.
    KATIE
    Stop that!
    Aaron sees this, and bounds towards Johnny, fists
    outstretched. Mr. Beecher grabs his arms, and pulls him back.
    MR. BEECHER
    I'm going to have to keep you after
    for this Aaron. And I will be
    calling your father.
    AARON
    But--
    Johnny holds Katie's bag above her head. She jumps to get
    it, but cannot.
    MR. BEECHER
    (to Johnny)
    Give the girl the bag, Mr. Raymond,
    or your father will get called as
    well.
    Johnny laughs. He pushes Katie. She lands hard on the ground.
    Johnny drops the bag.
    Aaron breaks free of Mr. Beecher's grasp. Eyes wild, he
    lunges at Johnny, who jumps out of the way. Aaron falls
    forward, and lands hard on the pavement in front of Katie.
    Their eyes meet.
    AARON
    You're like me.
    KATIE
    I don't know you.
    Aaron reaches out to take her hand. She shies away, whimpers,
    and drags herself across the pavement. She hits the grass
    and scrambles along on her knees. She reaches a clump of
    bushes, and crawls under them.
    Aaron gets to his feet. He connects a punch to Johnny's nose.
    Johnny goes down with a grunt and a moan.
    Two MALE TEACHERS exit the nearest building and head towards
    them.
    Aaron takes off running, and speeds out onto the street.
    Mr. Beecher hears Katie crying and crouches down in front of
    the bushes.
    MR. BEECHER
    Come on out, it's all over now. Are
    you hurt, Katie? I'll take you to
    see Nurse.
    Katie covers her ears, and curls up into a ball.
    INT. THE LAB
    Billy jumps up from the couch.
    BILLY
    Did you hear that?
    TIM (TVO)
    It was a young girl's cry. I am
    tracking it now.
    Billy picks up the psionic vector trace and smacks it.
    EXT. CITY STREET - DAY
    Aaron pushes his way through the crowds. The muted, muttering
    VOICES rumble through his head.
    AARON
    Stop it already. Leave me alone!
    He sees a sign for the underground and heads for it.
    INT. SCHOOL NURSE'S OFFICE
    Katie sits with a thermometer in her mouth. The SCHOOL NURSE
    takes it out and reads the display.
    SCHOOL NURSE
    You're not feverish, Katie. You
    just had a scare is all, I think.
    Katie slides off the chair, and huddles in the corner, her
    hands over her ears.
    KATIE
    (whispered)
    Go away. Stop yelling at me. Go away.
    Mr. Beecher appears in the doorway. He motions for the Nurse
    to join him in the corridor.
    INT. SCHOOL CORRIDOR
    The School Nurse shakes the thermometer.
    SCHOOL NURSE
    You need yours taken, Mr. Beecher?
    MR. BEECHER
    No thank you. What's the girl saying?
    SCHOOL NURSE
    Rather odd, really. She keeps
    repeating the same thing over and
    over. Stop yelling at me. Go away.
    No one's so much as raised a voice
    to her.
    MR. BEECHER
    Who could she mean?
    SCHOOL NURSE
    I've no idea. I've got to try and
    get her out of that corner before
    her parents get here. I can't have
    them seeing her in that state.
    Mr. Beecher turns to leave.
    MR. BEECHER
    Be sure to make a note of this in
    her file.
    SCHOOL NURSE
    Of course.
    She walks back into her office.
    INT. THE LAB
    SUPERIMPOSE: THE NEXT DAY
    Billy tosses a ball into the air. It falls, he catches it,
    and repeats the action. He throws it up too far, and waits
    for it to come down. It does, but as a sharp cornered
    computer motherboard.
    He drops it.
    BILLY
    Ouch! What the--
    A LAUGH comes from behind him.
    VERONICA ANGEL (19), all flaming-red hair, with a matching
    temperment, applauds.
    VERONICA
    (Irish accent)
    Good catch.
    BILLY
    That wasn't fair.
    VERONICA
    You're supposed to be working not
    playing around. It's important you
    know. To catch them before they
    break out. Or they end up all in
    pieces. Or have you forgotten
    already what it's like?
    BILLY
    Please, no lectures. I haven't
    forgotten. I'm as serious as a
    heart attack. Where've you been
    anyway?
    VERONICA
    I had my sister's wedding in Dublin.
    It only ended an hour ago. I didn't
    even stay for the reception. You
    said you had it handled.
    She gives Billy the hairy eyeball.
    BILLY
    I did. But you're back, so that's
    even better. I can go get some sleep.
    He throws an arm around her shoulders and gives her a little
    hug. He heads towards the corner platform. Veronica grabs
    him by the hem of his shirt.
    VERONICA
    Not so fast.
    A psionic vector trace appears in her other hand.
    EXT. WATSON RESIDENCE - DAY
    INT. DEN
    Katie sits on the floor and stares out a window. The
    television is tuned to an action program. A car chase is in
    progress.
    EXT. CITY STREET - DAY
    Aaron exits a fast food restaurant. He wanders down the
    street, aimless and confused. He drifts off the curb and
    into oncoming traffic.
    A car swerves and crosses lanes. A HORN blares.
    INT. DEN
    Tires SCREECH.
    Katie looks at the television. She watches Aaron, in the
    street, frozen in fear, while the car barrels towards him.
    Katie rubs her eyes in disbelief. The picture on the
    television is the same.
    Katie hears VOICES rising towards her. Some from the
    television, the others from all around her. She shuts her
    eyes tight.
    On screen, Aaron falls to the ground.
    EXT. CITY STREET - DAY
    The car closes in on Aaron's prone body.
    Billy appears on the sidewalk out of thin air. He holds up
    his hands, palms forward.
    The car disappears, and returns in the other lane. It
    screeches to a halt a safe distance from Aaron's prone body.
    Billy runs towards Aaron. The CROWD OF ONLOOKERS is thick.
    BILLY
    Let me through! I gotta' get over
    there.
    The crowd stays put.
    Billy throws a little tantrum in the middle of the sidewalk.
    VOICE FROM CROWD (OS)
    He's dying! Someone do something!
    BILLY
    (muttered)
    Jeez! What do I do? What do I--
    He tucks his shirt into his jeans, and runs a hand through
    his messy hair.
    BILLY (CONT'D)
    (loud)
    Move out of the way. I'm a doctor!
    The crowd parts.
    Aaron lies in the road, his body wracked with seizures.
    Billy rushes to him, and kneels down. He lays Aaron's head
    on his knees, and places his fingers against the boy's
    temples.
    BILLY (TELEPATHIC VOICE-OVER)
    It's all right. You're going to be
    all right. Don't be scared. I'm
    here to help you.
    AARON (TVO)
    What's happening?
    VOICE FROM CROWD (OS)
    Doctor, do something!
    BILLY (TVO)
    Open your mind. Listen to my voice.
    Concentrate hard on my voice.
    Follow it back.
    AARON (TVO)
    I'm scared.
    BILLY
    Hang in there. Just a little
    further.
    (whispered)
    Trust me. Concentrate.
    An ambulance SIREN wails in the distance.
    Aaron opens his eyes and looks up at Billy, who smiles and
    waves.
    BILLY (CONT'D)
    Welcome back.
    Aaron jumps up, unharmed.
    A MURMUR of surprise comes from the crowd. They don't
    believe their eyes.
    AARON
    Who are you?
    BILLY
    (slightly annoyed)
    You know who I am.
    AARON
    You're Billy. You're like me.
    BILLY
    Got it in one kid. If you're ready,
    let's go.
    An ambulance and several police cars arrive on scene.
    AARON
    Didn't I just get hit by a car?
    BILLY
    (smugly)
    It missed. Come on.
    He takes Aaron by the arm and leads him into the crowd. Two
    POLICEMEN and a PARAMEDIC run into the street. They look
    around, confused.
    EXT. PARK - DAY
    Billy and Aaron walk a footpath among the trees. They arrive
    at a clearing with a pond.
    Billy picks up a rock and tosses it at the water. It skims a
    few inches across, sinks, rises up and skims the rest of the
    way to the other side. Billy smiles and walks away.
    Aaron, a look of wonder on his face, follows.
    AARON
    The Tomorrow People. And I'm one of
    them?
    BILLY
    Part of the third generation of
    Tomorrow People. It runs in cycles.
    There'll be a whole bunch of
    breakouts for a while, and then it
    stops.
    AARON
    So where are they? All these others
    like us?
    Billy chuckles.
    BILLY
    That's the rub. Earth is a great
    place to live and all, but it just
    isn't ready for us yet. So, most of
    us live elsewhere.
    He gestures, palms up, up to the sky.
    AARON
    You're joking.
    BILLY
    I kid you not. There's always a few
    left behind though. To act as
    mentors and teachers. Some
    volunteer, they want to stay on
    Earth. Others--
    (mopey)
    We get drafted.
    They reach the end of the footpath. On the top of a nearby
    garbage bin is an aluminum can. Billy points at the can. It
    rises, floats to a recycle bin, hovers above, and drops in.
    INT. MOVIE THEATER
    Billy and Aaron wait on line at the concession stand.
    BILLY
    There's been times with none of us
    around. In nineteen ninety two,
    they put a telepathic beacon in
    orbit, to keep watch. Thing got
    shot down by Iraq. It ended up in
    the bottom of the sea.
    (muttered)
    Damn thing gives me a headache when
    I get too close.
    AARON
    Did it work?
    BILLY
    Yeah, it did. They got wet. And
    ended up being on their own for a
    good couple of years. They still
    complain about it.
    Billy grabs a super size bucket of popcorn and pops a
    heaping handful into his mouth.
    EXT. BATTERSEA, LONDON - ESTABLISHING - DAY
    EXT. BANKSIDE POWER STATION - DAY
    Billy and Aaron make their way towards the derelict,
    abandoned structure.
    Billy points towards a peeling, grafitti covered poster for
    lemon candies that hangs on the side of the building.
    BILLY
    There it is.
    AARON
    There's what?
    BILLY
    The lab.
    AARON
    In this old wreck?
    BILLY
    Yeah. Under it anyway. We don't
    need to enter from the street--
    (grinning)
    But I figured I'd show you how to
    get in through the front door, just
    in case.
    Billy reaches up above the poster and yanks on a rusty metal
    rod.
    EXT. DOWN THE STREET - DAY
    A rusted motorcycle idles at the corner. The BIKER, his face
    shrouded by a helmet, watches Billy and Aaron enter the
    building.
    INT. THE LAB
    Veronica sits at the round table, her hands palms down,
    fingers splayed. The table surface is lit up underneath them.
    VERONICA (TVO)
    Hello? Hello? Is anyone there?
    A door to the left slides open. Billy and Aaron enter.
    Veronica's concentration breaks. She turns to glare at Billy.
    VERONICA
    Where have you been? She's been
    yelling for an hour, but I can't
    get through.
    BILLY
    Good afternoon to you too, Ronnie.
    I took young Aaron to the movies.
    We needed a break.
    He straddles a chair backwards, and lays his hands out onto
    the table top, with one pinky touching hers.
    BILLY (CONT'D)
    (to Aaron)
    Do like this.
    Aaron mimics Billy. Their hands make a triangle on the
    tabletop. The surface brightens.
    AARON
    What are we doing?
    BILLY
    Linking. Just listen with your
    mind, like I showed you.
    A soprano WHIMPER is heard, from nowhere, yet everywhere.
    AARON
    That's Katie.
    VERONICA
    Who?
    AARON
    Katie Watson. She goes to my school.
    I looked in her eyes, and I knew
    she was like me.
    BILLY
    Good call.
    He pats Aaron on the back.
    TIM (VO)
    I have the coordinates now.
    Aaron yelps and jumps from his chair. He scrambles towards
    the door.
    AARON
    Jeez! What's that?
    Veronica rolls her eyes.
    VERONICA
    (to Billy)
    You didn't tell him about Tim?
    (to Aaron)
    Look up. That's Tim.
    TIM (VO)
    Welcome Aaron!
    AARON
    Hello, eh, um, Tim.
    He throws a confused look at Billy.
    BILLY
    Don't worry. He doesn't bite.
    (to Veronica, smarmy)
    I got mine. It's your turn. And
    you'd better hurry before she
    jaunts off into oblivion. Or have
    you forgotten--
    Veronica smacks Billy in the back of the head.
    LATER
    Aaron makes his way around, touching everything in sight.
    AARON
    This place is amazing. Did you do
    all this yourself?
    BILLY
    I wish. Most of this was built
    before I got here.
    TIM (VO)
    As Billy knows, this isn't the only
    lab. That was built by the first
    Tomorrow Person, John, back in the
    nineteen seventies. The lab was
    reconstructed here when the Wood
    Lane underground station was slated
    for demolition.
    Billy slaps his hands together.
    BILLY
    Well, as you Brits would say, I'm
    off. I've got school in an hour.
    AARON
    You have to go to school?
    BILLY
    (with obvious enjoyment)
    Uh huh. We all do. But I'm less
    than a month from graduation.
    So...asta!
    He salutes, bounds onto the platform, and disappears.
    Aaron, a stunned look on his face, sits down.
    TIM (VO)
    Do you have any questions?
    AARON
    Thousands! But I don't know where
    to start. I'm a little in bits.
    TIM (VO)
    That is understandable.
    AARON
    So, how do you, talk to me?
    TIM (VO)
    I am a biotronic computer, and have
    the functions of original thought
    and action.
    AARON
    Brilliant!
    TIM (VO)
    I have a vast base of knowledge,
    and what I do not know, I have the
    ability to research. If that
    equates to brilliance, then I
    accept your compliment.
    Tim's domes flash.
    EXT. BANKSIDE POWER STATION - NIGHT
    CHRISTOPHER "CHIP" HARDING JR. (20's), a prototype street
    tough in denim, sidles along the side of the building. He
    stops to lean against the wall. He takes long look from one
    end of the street to the other, pivots on his heels, casual-
    like, and reaches above his head. He pulls on the rod.
    The wall slides open. He takes one last look around, and
    steps inside. The wall slides closed behind him.
    INT. BANKSIDE POWER STATION
    Cobwebs hang from the rafters. The ceiling above sports a
    gaping hole, from which wires and metal beams hang
    precariously down.
    Chip proceeds to an elevator, and hits the ARROW DOWN button.
    The door creaks open. He steps inside.
    INT. THE LAB
    The room is empty of human life forms. Tim hovers above the
    table.
    The door to the left slides open. Chip enters, arms wide
    open, a goofy grin on his face.
    CHIP
    (Cockney accent)
    Greetings, space men! Take me to
    your icebox! Anyone home? Eh? I
    know you know I'm here. You wouldn't
    have opened the door if you didn't.
    Come on!
    He sheds his jacket, and hangs it over the back of a chair.
    TIM (VO)
    Good evening, Chip. How are you
    today?
    CHIP
    Hello, Tim! It's about time. I was
    starting to get a complex.
    TIM (VO)
    I apologize. We've been rather busy
    today, with two new Tomorrow People
    breaking out. And both in the
    London area, which was quite a
    stroke of luck.
    CHIP
    Crike! Have you found them yet?
    TIM (VO)
    Aaron is in the sleeping quarters.
    I shall have him come meet you.
    CHIP
    Fantastic! So, where's the rest of
    the ruffians?
    TIM (VO)
    They've gone to see about tracing
    the evanescent transmissions. Only
    after cross referencing the
    telepathic streams, can I properly
    generate a tracker matrix.
    CHIP
    (not really understanding)
    Oh, yeah. Right. Of course.
    Tim 'laughs'.
    Aaron arrives from the upper level, taking the stairs two at
    a time.
    CHIP
    Hello! You must be Aaron.
    Aaron smiles, and nods. Stares at Chip with great
    concentration.
    Chip smiles.
    CHIP (CONT'D)
    How are you feeling? Must be a bit
    of a surprise all this, eh?
    Aaron smiles and nods, still staring.
    Chip ponders this a second. Snaps his fingers. He 'gets it'.
    CHIP
    (loud)
    Hello. Aaron. My. Name. Is. Chip.
    He gestures in mishandled sign language. Waves to Aaron.
    Points to himself.
    AARON
    You don't have to yell. I'm not
    deaf. Are you daft or something?
    CHIP
    You talk? Aren't you mute?
    AARON
    Me, mute?
    CHIP
    Well, I was talking to you a minute
    ago, and you just stood there
    staring at me. You could have
    answered. I never--
    AARON
    (dejected)
    I was trying to telepath to you. I
    guess I haven't gotten the hang of
    it yet.
    Chip lets out a snort and a belly laugh. He drops down into
    one of the chairs.
    CHIP
    Me? Telepathic. Well, that's a nice
    laugh. I'm just a plain old stupid
    Sap, aren't I Tim?
    TIM (VO)
    You are quite intelligent Chip. As
    was your father. Aaron, Chip is one
    of a few non telepaths that knows
    of our existence. His father and
    uncle were as well. The Harding
    family has been an ally of the
    Tomorrow People for many years.
    AARON
    That's good. I thought we'd been
    invaded.
    CHIP
    That only happens every third month
    with an R in it.
    He snorts and laughs.
    FADE OUT.
    END OF ACT I
    


End file.
